Quiz 2 Cinematography UPDATED ACTUAL Questions and
CORRECT Answers
cinematographer/director of photography "Their job is to translate the director's vision into usable footage, using all of the
photographic skills listed above and only after making a series of crucial decisions
which we will get to below. It is one of the most technical jobs in cinema, requiring
as much science as it does art" (Sharman)
color correction when the DIT (the Digital Imaging Technician) modifies the digital footage to alter
the color or colors in some way
take and set up "Every time they repeat the shot, it’s called a take. And once the director and
cinematographer feel they have the best version of that shot, it’s time to move the
camera – and everything associated with it – to a new shot, sometimes just a
slightly different angle on the same scene. That’s called a set-up" (Sharman)
film gauge The width of the film stock--e.g., 8mm, 16mm, 35mm, and 70mm.
fast vs. slow film stock "Highly sensitive, or “fast” film stock, that is film that reacts quickly to relatively low
levels of light, contains relatively large silver halide crystals (more surface area to
absorb the light). The benefit is the ability to film at night or other low-light
situations. The drawback is a loss in resolution, or detail in the image, due to an
increase in the crystals. or grain. Less sensitive, or “slower” film stock produces a
crisper image (due to the smaller crystals), but requires more light." (Sharman)
frame rate Speed at which video frames appears on a screen; measured by FPS (frames per
second)
available light/practical light/set lighting "the light from the pre-existing fixtures in a location (also called practical lights)"
(Sharman); for example, a lamp that is part of the set
motivating the light "indicating to the viewer where the light is coming from in a given shot" (Sharman);
the example Sharman gives is a lamp that acts a way to explain the light shining on
a person's face even though the actual light source is off screen
hard vs. soft lighting Hard lighting is intense and focused, creating harsh, dramatic shadows. Soft
lighting is more diffused and even, filling the space with smooth, gradual
transitions from light to dark.
diffused light and diffusers soft lighting; it can be created using diffusers (surfaces or filters that help make
light less harsh
three point lighting A lighting technique common in Hollywood that combines key lighting, fill
lighting, and backlighting to blend the distribution of light in a scene; creates high
key lighting
key light "the brightest light on the set, used to properly expose the main subject"
(Sharman); the brightest light in the three point lighting set up
, fill light "less intense and a bit softer than the key light, to fill out those shadows"
(Sharman); the fill lights help lessen or control the shadows; used to counter the
key light in the three point lighting set up
back light In the three point lighting set up, the back light will make the figure stand out from
the back ground; part of the three point lighting set up; creates a sense of depth
edge or rim lighting if a back light is strong enough, it will create a glow around the edges of an object
or person
kickers small fill lights used to help balance out the key light
eye lights small lights aimed at the actor in order to accentuate their eyes; eyelights make
the eyes "pop," so to speak
high key lighting created by the three point lighting set up; allows for a carefully managed
difference between light and dark. Due to the fill lights, high key lighting has low
contrast; the difference between light and dark is subtle, with the light areas
becoming gradually darker (or vice versa). Shadows are often transparent
low key lighting Low key lighting is high contrast. With low key lighting, the DP will lower or
remove the fill lights. With nothing to counter the key light, the shadows become
dark or even opaque. The movement from light to dark is abrupt, with a clear line
between what is lit and what is in shadow
chiaroscuro extreme low key lighting with strong contrast between light and dark
highlight when the lighting creates a bright spot on an object or actor (don't confuse this
with a spotlight)
flare when the light overwhelms the camera to create a streak of light
focal length The overall distance between the sensor and the point at which the light passes
through those glass elements
color temperature the warmth or coolness of a color. eg blue is cool and orange is warm; "the lower
the degree Kelvin, the warmer, or more 'red' the light. The higher the degree
Kelvin, the cooler, more 'blue' the light." (Sharman)
zoom vs. prime Zoom lenses allow you to adjust the focal length by sliding the glass elements
closer to or further away from the sensor, thus greatly magnifying the image or
widening the angle of view without swapping out the lens itself. Prime lenses have
a fixed focal length (but often a better picture quality)
depth of field the range of distance in front of the camera in which subjects are in sharp focus
narrow depth of field the range of distance in front of the camera in which subjects are in sharp focus is
relatively small, creating less depth to the image
wide depth of field larger range of sharp focus, creating a sense of depth
CORRECT Answers
cinematographer/director of photography "Their job is to translate the director's vision into usable footage, using all of the
photographic skills listed above and only after making a series of crucial decisions
which we will get to below. It is one of the most technical jobs in cinema, requiring
as much science as it does art" (Sharman)
color correction when the DIT (the Digital Imaging Technician) modifies the digital footage to alter
the color or colors in some way
take and set up "Every time they repeat the shot, it’s called a take. And once the director and
cinematographer feel they have the best version of that shot, it’s time to move the
camera – and everything associated with it – to a new shot, sometimes just a
slightly different angle on the same scene. That’s called a set-up" (Sharman)
film gauge The width of the film stock--e.g., 8mm, 16mm, 35mm, and 70mm.
fast vs. slow film stock "Highly sensitive, or “fast” film stock, that is film that reacts quickly to relatively low
levels of light, contains relatively large silver halide crystals (more surface area to
absorb the light). The benefit is the ability to film at night or other low-light
situations. The drawback is a loss in resolution, or detail in the image, due to an
increase in the crystals. or grain. Less sensitive, or “slower” film stock produces a
crisper image (due to the smaller crystals), but requires more light." (Sharman)
frame rate Speed at which video frames appears on a screen; measured by FPS (frames per
second)
available light/practical light/set lighting "the light from the pre-existing fixtures in a location (also called practical lights)"
(Sharman); for example, a lamp that is part of the set
motivating the light "indicating to the viewer where the light is coming from in a given shot" (Sharman);
the example Sharman gives is a lamp that acts a way to explain the light shining on
a person's face even though the actual light source is off screen
hard vs. soft lighting Hard lighting is intense and focused, creating harsh, dramatic shadows. Soft
lighting is more diffused and even, filling the space with smooth, gradual
transitions from light to dark.
diffused light and diffusers soft lighting; it can be created using diffusers (surfaces or filters that help make
light less harsh
three point lighting A lighting technique common in Hollywood that combines key lighting, fill
lighting, and backlighting to blend the distribution of light in a scene; creates high
key lighting
key light "the brightest light on the set, used to properly expose the main subject"
(Sharman); the brightest light in the three point lighting set up
, fill light "less intense and a bit softer than the key light, to fill out those shadows"
(Sharman); the fill lights help lessen or control the shadows; used to counter the
key light in the three point lighting set up
back light In the three point lighting set up, the back light will make the figure stand out from
the back ground; part of the three point lighting set up; creates a sense of depth
edge or rim lighting if a back light is strong enough, it will create a glow around the edges of an object
or person
kickers small fill lights used to help balance out the key light
eye lights small lights aimed at the actor in order to accentuate their eyes; eyelights make
the eyes "pop," so to speak
high key lighting created by the three point lighting set up; allows for a carefully managed
difference between light and dark. Due to the fill lights, high key lighting has low
contrast; the difference between light and dark is subtle, with the light areas
becoming gradually darker (or vice versa). Shadows are often transparent
low key lighting Low key lighting is high contrast. With low key lighting, the DP will lower or
remove the fill lights. With nothing to counter the key light, the shadows become
dark or even opaque. The movement from light to dark is abrupt, with a clear line
between what is lit and what is in shadow
chiaroscuro extreme low key lighting with strong contrast between light and dark
highlight when the lighting creates a bright spot on an object or actor (don't confuse this
with a spotlight)
flare when the light overwhelms the camera to create a streak of light
focal length The overall distance between the sensor and the point at which the light passes
through those glass elements
color temperature the warmth or coolness of a color. eg blue is cool and orange is warm; "the lower
the degree Kelvin, the warmer, or more 'red' the light. The higher the degree
Kelvin, the cooler, more 'blue' the light." (Sharman)
zoom vs. prime Zoom lenses allow you to adjust the focal length by sliding the glass elements
closer to or further away from the sensor, thus greatly magnifying the image or
widening the angle of view without swapping out the lens itself. Prime lenses have
a fixed focal length (but often a better picture quality)
depth of field the range of distance in front of the camera in which subjects are in sharp focus
narrow depth of field the range of distance in front of the camera in which subjects are in sharp focus is
relatively small, creating less depth to the image
wide depth of field larger range of sharp focus, creating a sense of depth
